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Slate Digital Virtual Tape Machines Version 1.0 Advanced Algorithms TM by Fabrice Gabriel Fabrice Gabriel: Steven Slate: Vincent Travaglini: Franois Best: Algorithm Design & Tuning Plugin Design & Tuning DSP Development Architecture & GUI Development
Anthony
Taglianetti:
Beta
Testing
&
Validation
Yannick
Bonnefoy:
GUI
Design
&
Rendering
Slate
Digital
Thanks:
the
amazing
designers
who
made
these
legendary
machines,
Deborah
Lintz,
Howie
Weinberg,
Wade
Norton,
Ross
Hogarth,
and
our
fifth
Beatle
Jay
Baumgardner.
User
Manual
by
Anthony
Taglianetti,
Steven
Slate,
&
Fabrice
Gabriel
Slate
Digital
LLC.
All
rights
reserved.
TABLE OF CONTENTS
I.
Introduction
.....................................................................................................................
4
By
Steven
Slate
............................................................................................................................
4
II.
Virtual
Tape
Machines
.....................................................................................................
6
THE
MACHINES
..........................................................................................................................
6
2-Inch
16-Track
............................................................................................................................
6
Inch
2
Track
..............................................................................................................................
6
THE
TAPES
.................................................................................................................................
6
FG456
..........................................................................................................................................
6
FG9
..............................................................................................................................................
6
TAPE
SPEED
...............................................................................................................................
7
30ips
............................................................................................................................................
7
15ips
............................................................................................................................................
7
BIAS
..........................................................................................................................................
7
III.
VIRTUAL
TAPE
MACHINES
Overview
.............................................................................
8
FRONT
PANEL
............................................................................................................................
8
SETTINGS
PANELS
......................................................................................................................
9
IV.
VTM
QUICKSTART
..........................................................................................................
10
V.
GROUPING
.....................................................................................................................
11
USING
GROUPS
.......................................................................................................................
11
DEFAULT
GROUP
.......................................................................................................................
11
PROCESS/
BYPASS
......................................................................................................................
11
ISOLATING
THE
GAIN
STAGE
FROM
A
GROUP
...........................................................................
12
AUTOMATING
VTM
GROUPS
...................................................................................................
12
VI.
Common
Mixing
Questions
............................................................................................
13
VII.
ADVANCED
SETTINGS
....................................................................................................
15
CALIBRATION
LEVELS
...............................................................................................................
15
DEFAULT
CALIBRATION
...........................................................................................................
15
VU
AVERAGE
POSITION
&
SOUND
...........................................................................................
16
NOISE
REDUCTION
..................................................................................................................
17
BASS
ALIGNMENT
....................................................................................................................
17
WOW
&
FLUTTER
....................................................................................................................
17
HISS
AUTOMUTE
.....................................................................................................................
18
VIII.
System
Requirements
&
Installation
..............................................................................
19
INSTALLATION
INSTRUCTIONS
.................................................................................................
19
iLok
License
Downloading
.........................................................................................................
19
Installing
the
VTM
......................................................................................................................
19
User
Manual
..............................................................................................................................
19
IX.
3RD
PARTY
ILOK
LICENSE
TRANSFER
FEE
........................................................................
20
X.
Conclusion
.....................................................................................................................
21
I. I NTRODUCTION
By
Steven
Slate
The
first
time
I
put
a
reel
of
tape
on
a
tape
machine,
I
was
a
fifteen-year-old
coffee
boy,
interning
at
a
northern
New
Jersey
recording
studio.
Even
though
placing
the
reel
on
the
machine
was
similar
to
letting
your
kids
push
the
floor
button
on
an
elevator,
I
remember
being
ecstatic
that
I
was
given
the
opportunity
to
perform
this
crucial
role.
Playing
back
in
my
brain
was
a
montage
of
Kirk,
the
head
engineer,
showing
me
how
to
properly
wrap
the
tape
around
the
heads.
With
my
heart
beating
fast,
I
followed
his
tutorial
with
exact
precision.
Once
the
session
began,
I
felt
a
great
sense
of
accomplishment
as
I
watched
the
reels
spinning.
I
grew
up
in
the
industry
listening
to
tape
machines.
Back
then
it
was
not
clear
how
magical
these
machines
were.
In
fact,
I
recall
when
the
first
ADAT
digital
machines
became
available.
One
day,
the
head
engineer
at
the
studio
where
I
was
working
at
came
into
the
control
room
with
a
confident
grin
and
announced
to
us
all
Say
goodbye
to
that
noisy
hiss
truck
and
get
ready
for
the
future
digital!
He
set
up
the
16bit
VHS
recording
machine
next
to
the
Studeri
2-inch
machine,
and
we
tracked
8
mics
of
drums
into
it.
His
smile
quickly
faded.
Something
must
be
wrong,
this
doesnt
sound
good
at
all,
he
said,
as
the
lifeless
and
somewhat
harsh
digital
tracks
played
back.
And
I
realized
back
then
that
digital
was
likely
going
to
solve
a
lot
of
problems
for
this
industry
but
one
thing
that
it
was
not
going
to
do,
was
sound
like
tape.
Digital
has
come
a
long
way
since
the
first
16bit
VHS
recorders.
Using
a
nice
converter
and
clock,
you
can
record
an
extremely
detailed
and
high
bandwidth
sound
with
great
resolution
and
dynamic
range.
There
is
surely
nothing
wrong
with
digital.
And
perhaps
thats
the
problem.
Two
years
ago
we
released
a
plugin
called
the
Virtual
Console
Collection,
which
replicated
the
signal
path
of
an
analog
desk.
We
did
this
because
it
was
clear
that
many
pro
engineers
still
preferred
the
sound
of
old
vintage
analog
desks.
And
we
soon
discovered
why:
The
nonlinear
artifacts
of
analog
are
pleasing
to
the
human
ear.
And
just
as
it
is
with
the
circuit
of
a
console,
the
tape
machine
has
a
very
unique
set
of
dynamic,
nonlinear
traits
that
cause
our
ears
to
hear
warmth,
glue,
depth,
space,
and
width.
So
just
as
we
did
with
the
VCC,
we
sought
to
make
the
absolute
most
authentic
replication
of
the
analog
tape
machine
that
the
industry
has
ever
heard.
And
I
think
we
have
succeeded.
After more than a year of scientific research and algorithm development, Slate Digital, led by our Chief Technical Officer and head algorithm developer Fabrice Gabriel, have created the Virtual Tape Machines digital audio plugin. Using this plugin, you can have the sound of both, a 2inch 16 track analog deck or a 2 track analog deck right in your DAW. Your mixes will come to life. Things will be easier to balance. Tracks will need less EQ and compression. Depth, space, and warmth will be achieved like youve never heard before. Welcome to the sound of Analog Tape. Your music deserves it.
THE
MACHINES
2-Inch
16-Track
This
is
the
2-inch
Studeri
A827
with
16-track
headstock
from
NRG
Recording
Studios.
This
machine
has
recorded
some
of
the
biggest
albums
in
the
world.
It
has
a
fat,
punchy,
thick
sound
with
a
very
detailed
top
end.
This
is
the
ultimate
tracking
machine.
Inch 2 Track
This is the 2-track Studeri A80 RC with -inch headstock from Howie Weinberg Mastering. Many recordings have been mastered onto this deck, and its obvious why! It has a thick low end, nice rich midrange, and a smooth top that perfectly takes away the digital edge in the most natural way.
THE
TAPES
The
tape
formulations
that
we
modeled
are
two
of
my
favorites,
the
classic
456
and
the
more
modern
GP9.
I
picked
these
tapes
based
on
my
years
of
using
both,
and
my
knowledge
that
these
represent
two
very
unique
sounds.
FG456
456
was
introduced
in
1975
as
a
high
output
tape
formula
that
was
needed
since
new
tape
decks
at
the
time
were
able
to
handle
higher
headroom
signals
in
their
electronics.
456
is
known
as
a
+6
tape,
which
means
its
+6dB
over
the
185
nWb/m
standard
which
means
you
have
an
additional
6dB
of
headroom
before
tape
saturation
occurs.
FG9
GP9
is
a
more
modern
tape
that
has
an
even
thicker
layer
of
oxide
and
is
known
as
a
+9
tape
(570
nWb/m).
GP9
became
very
popular
because
you
could
record
at
hotter
levels
and
not
have
the
same
introduction
of
saturation
and
distortion.
While the sound of these tapes is subjective, what we notice is that 456 is a bit more colorful with slightly thicker lows. Switching to GP9, youll notice more punch, due to the fact that you have 3db more headroom before saturation. You may also notice more definition throughout the frequency spectrum, and a slightly more forward sound. Both of these tape types sound really good, and we suggest to experiment with both of them.
TAPE
SPEED
IPS
means
inches
per
second,
as
in
the
number
of
inches
of
tape
that
spin
around
the
heads
per
second.
The
two
professional
recording
tape
speeds
are
15ips
and
30ips,
which
were
the
speeds
that
we
modeled
on
both
of
our
2-inch
and
-inch
decks.
So
what
are
the
sonic
differences
between
these
speeds?
This
is
a
question
that
is
based
on
many
factors
including
the
machine
type,
the
way
it
is
aligned,
and
the
tape
formula.
30ips
The
faster
speed
setting,
30ips,
has
less
noise,
an
overall
flatter
frequency
response,
and
a
slightly
extended
high-end.
On
both
of
our
machine
models,
30ips
is
relatively
flat
above
200Hz,
and
then
has
some
emphasis
in
the
higher
portion
of
the
low-end.
This
is
a
great
speed
setting
for
a
pristine
sounding
high-end
with
smooth
saturation
on
peaks,
and
a
nice
thickening
of
the
upper
low-end.
15ips
15ips
has
a
higher
noise
floor,
and
a
more
non-linear
frequency
response.
First
youll
notice
that
the
low-end
extension
is
driven
down
to
the
sub-lows,
below
100Hz.
This
is
one
of
the
reasons
why
15ips
is
often
said
to
be
fatter
sounding.
The
midrange
of
both
of
the
machines
is
a
bit
extended,
which
adds
a
nice
presence
and
bite.
Overall,
the
15ips
Speed
setting
on
both
models
is
definitely
great
when
you
want
to
add
more
attitude
and
flavor
to
your
recordings.
And
the
best
part
is
that
you
can
overcome
the
extra
noise
by
reducing
it
with
the
Noise
Reduction
slider
in
the
Settings
panel!
BIAS
The
recommended
Bias
(Normal)
is
dependent
on
the
Tape
Type,
Tape
Speed,
and
Record
Head
Gap
length.
When
you
switch
Machines,
Tape
Types
or
Tape
Speeds,
the
Bias
is
automatically
adjusted
to
the
recommended
value,
internally.
We
also
modeled
two
additional
Bias
settings
above
and
below
the
recommended
Bias
value.
These
additional
settings
change
the
frequency
response
and
saturation
for
each
Machine,
Tape,
and
Speed
configuration.
With
the
Bias
set
to
High,
High
Frequencies
will
saturate
earlier.
When
set
to
Low,
High
Frequencies
will
saturate
later,
with
increased
dynamics.
SETTINGS
PANELS*
All
of
the
settings
in
the
VTM
Settings
Panels
(with
the
exception
of
Group
Calibration
Levels)
are
GLOBAL.
Noise
Reduction,
Wow
&
Flutter,
Bass
Alignment,
Hiss
Automute,
VU
Ballistics
and
Default
Group
Settings
will
affect
EVERY
instance
of
VTM
in
your
session.
Noise
Reduction
Weve
taken
great
care
to
model
the
noise
characteristics
of
each
machine,
tape
type
and
speed.
This
may
be
undesirable
in
some
situations.
This
slider
allows
you
to
fine
tune
the
amount
of
tape
hiss
in
your
mix.
Dragging
this
slider
to
the
far
left
will
remove
noise
entirely.
Wow & Flutter The subtle pitch and amplitude variations inherent in tape machines have been faithfully reproduced with VTM as well. The effect intensifies as the slider is dragged to the right. Hiss Automute Automatically mutes the tape hiss when no signal is present at input. Bass Alignment: Allows for fine control over the low-end response of each tape machine. VU Ballistics: Adjusts the VU Needle Response to either Fast, Mid, or Slow. Default Group: Determines which Group the VTM is assigned to upon instantiation. This is very useful for setting up groups quickly!
Unlike VCC, Settings are stored in the Session File and not a separate settings file on your hard drive. If you wish to have your own default settings, we recommend saving VTM presets for recall in your DAW. Please consult your DAWs user manual for instructions on saving presets, and setting a User Default preset.
10
4. Using any of the VTM instances, select a Tape Machine, Tape Type, Tape Speed, and Bias. All instances of VTM will slave to these changes!
5. Start playback. Depending on your material, you may need to boost or attenuate the input level of each track to achieve the desired level of tape saturation.
6. Finally, insert VTM across your stereo buss. You can assign it to the same group, or leave it ungrouped to emulate printing your mix to a -inch machine! 7. Mix your song!
11
V. GROUPING
USING
GROUPS
Groups
make
using
the
Virtual
Tape
Machines
plugin
very
simple,
quick,
and
intuitive.
At
its
most
basic
use,
you
can
set
all
instances
to
the
same
group
and
use
the
Virtual
Tape
Machines
to
emulate
mixing
off
a
single
tape
machine.
You
could
also
use
several
groups
and
make
your
own
hybrid
tape
machine.
You
can
mix
and
match
machines,
tape
types,
speeds,
and
even
bias!
The
Virtual
Tape
Machines
has
8
Groups
that
enable
you
to
slave
multiple
Tape
Channels
together.
This
means
that
from
a
single
instance,
you
can
control
the
Bias,
Machine
Type,
Tape
Speed,
Tape
Type,
Process/
Bypass,
and
Input/
Output
for
every
Tape
Channel
in
the
Group.
VTM
Group
Assign
Menu
To assign a Tape Channel to a group, click the Group Assign pull- down menu and choose one of VTMs 8 Groups. VTM is now assigned to that group.
DEFAULT
GROUP
You
can
quickly
assign
multiple
Tape
Channels
to
a
group
by
using
the
Default
Group
feature
in
the
Settings
Panel.
Click
Settings
and
change
the
Default
Group
to
the
VTM
Group
of
your
choice.
All
new
instances
of
Virtual
Tape
Machines
will
be
assigned
to
this
group
by
default.
This
makes
group
setup
quick
and
easy!
PROCESS/
BYPASS
You
can
bypass
the
Tape
Channel
processing
for
an
entire
Group
by
hitting
the
Process/
Bypass
switch
on
the
front
panel.
This
switch
also
disables
processing
for
a
single
Tape
Channel
if
it
is
ungrouped.
When assigning a Tape Channel to a Group, all parameters will be initialized. We recommend assigning the Tape Channel to a group BEFORE adjusting any parameters. Pro Tools Multi-Mono: Due to the nature of our grouping system, the Group Assign parameter will not Link to other Multi-Mono Channels. It is recommended that you use the Link function, instead of our grouping system in this configuration. VTMs front panel parameters will link correctly across all channels.
12
The isolated Input and Output value is not cumulative to the group value; it is absolute.
13
14
In
this
scenario,
I
want
to
take
advantage
of
the
Virtual
Tape
Machines
harmonics,
smoothing,
and
distortion
to
warm
it
up,
and
to
even
attenuate/boost
them
with
the
EQ.
I
want
to
take
also
advantage
of
the
compression
aspect
of
the
VTM
to
feed
the
VCC,
where
I
can
add
some
final
subtle
flavor.
I'd
try
several
bias
settings
depending
on
the
high
frequency
reduction
behavior
I
want
(which
are
all
far
different
from
a
simple
EQ).
So
for
instance,
I'd
use
the
2"
with
FG456,
30ips
High
Bias,
and
play
with
the
IN/OUT
linked
levels
to
have
the
highs
I
want. For
a
piano
track,
I
would
use
a
different
configuration:
VCC
EQ
VTM
For the piano, I'd use the VCC Mixbuss to get some cool stereo and harmonic effects, then EQ, then VTM with not too much noise and just a little bit of flutter. Here, I just would like to add to the sound. A little bit of smoothness for high amplitudes, but I don't want to use the VTM as the same high frequency reduction tool than for the vocals. I just want to warm up the sound a little and make it less sterile. Here I'd use the 1/2" FG9 15 ips with Normal Bias.
15
DEFAULT
CALIBRATION
We
wanted
the
needle
to
not
be
too
hot
by
default,
because
we
wanted
the
user
to
use
the
Virtual
Tape
Machines
at
the
right
calibration,
preferably
with
the
needle
around
0dB
VU.
I
also
wanted
the
VU
Calibration
and
the
Model
Calibration
to
be
coherent
with
what
I
measured
with
the
real
tape,
knowing
that
there
is
no
"right"
calibration
with
real
tape,
for
several
reasons:
Calibration,
i.e.
relation
between
Input/
Output/
Saturation
levels,
depends
on
the
technician
who
set
up
the
machine,
on
the
tape,
etc.
The
same
tape
formula
could
be
calibrated
in
several
ways,
i.e.
the
GP9
has
more
headroom,
but
some
engineers
chose
to
have
the
same
headroom
with
a
lower
noise
floor,
which,
at
the
end,
is
the
same
thing
on
the
tape
itself,
but
regarding
the
input/output,
is
not
the
same.
Calibration
also
depends
on
the
machine
maintenance,
model,
etc.
What I did for the algorithm was achieve coherence between all Tape Type/Machine Type/ Tape Speed variations. For instance, the FG9 has more headroom and less noise than FG456; the " Machine has more headroom than 2" machine, etc.
16
This is representative of the fact that when two tape machines are calibrated the same way with same Input/ Output gains, but which may not be the case with far different calibrations or configurations. That's why after discussing with many tape technicians, we found it very useful to feature calibration settings, which are representative of reality. We set the Virtual Tape Machines default calibration to -15dB because we thought it was more representative to the default saturation level a real tape machine would exhibit, with typical RMS levels of digital files. In other words, we wanted the user to load the VTM and to have the "typical" tape sound with the most common digital files. Wade Norton (NRG Recording Studios), who is one of the best tape technicians in Los Angeles, calibrated the tape machines for testing. We also hired several other tape techs, and it was very interesting to see that the calibration and the SOUND was different with the same tape machine, according to the calibration which was done by different techs. The best sound we got from the tape machines was from Wade's calibration.
17
NOISE
REDUCTION
We
believe
that
Tape
Hiss
is
an
important
component
in
the
sound
of
tape.
We
have
meticulously
modeled
the
noise
characteristics
for
each
Machine,
Tape,
Speed,
and
Bias
configuration.
The
noise
you
are
hearing
is
not
the
product
of
a
noise
generator.
It
is
a
faithful
replication
of
Tape
Hiss.
By
default,
Noise
Reduction
is
set
to
-3dB.
You
may
find
the
tape
hiss
to
be
too
much,
especially
if
you
have
multiple
instances
spread
across
an
entire
mix!
Luckily,
you
can
dial
in
the
perfect
amount
of
tape
hiss
using
the
Noise
Reduction
slider,
located
in
the
Settings
Panel.
BASS
ALIGNMENT
In
a
real
tape
machine,
the
Bass
Alignment
would
be
dependent
on
the
tech's
calibration.
The
bass
alignment
setting
is
not
a
simple
EQ
that
modifies
bass
roll
off.
It
takes
care
of
the
bass
behavior
of
the
tape,
and
then
enhances
or
reduces
it.
The
Bass
Alignment
slider
influences
bass
and
sub-bass
frequencies.
Thus,
its
different
for
each
tape
model,
tape
machine
and
speed
since
the
calibration
made
by
a
tech
on
a
real
tape
machine
would
be
dependent
on
these
parameters
as
well.
It
could
be
very
useful
in
different
mixing
situations,
similar
to
the
changes
a
tech
would
make
according
to
a
mixing
engineers
request.
For
example,
one
may
want
to
add
some
typical
bass
from
a
tape,
especially
for
Hip
Hop,
RnB,
etc.
It
may
be
easier
using
the
Bass
Alignment
to
get
the
right
amount
of
bass
in
your
mix.
For
mastering
purposes,
it
may
be
useful
to
lower
the
Bass
Alignment
to
have
a
more
neutral
behavior
in
the
bass
and
the
way
that
tape
processes
the
bass
frequencies
will
help
that,
while
still
keeping
the
typical
tape
bass
sound.
18
You can turn off the Wow & Flutter effect by setting the slider to 0%.
HISS
AUTOMUTE
Automatically
mutes
the
modeled
Tape
Hiss
when
there
is
no
audio
present
at
the
input.
VU BALLISTICS
Chooses the speed of the VU Meter needles. The Fast mode will react very quickly and precisely to oncoming audio, where the Slow mode will react less precisely to individual audio pieces.
19
INSTALLATION
INSTRUCTIONS
iLok
License
Downloading
Before
downloading
the
iLok
license
for
VTM,
make
sure
you
have
installed
the
latest
iLok
drivers
for
your
system.
You
can
download
the
latest
installers
here:
o iLok
drivers
for
Mac
OS:
http://sw.ilok.com/macextsx.dmg
o iLok
drivers
for
Windows:
http://sw.ilok.com/DriverSetup.exe
In
order
to
download
your
iLok
license
to
your
iLok
2
dongle,
please
visit
the
link
that
was
given
to
you
in
your
email
receipt
and
enter
the
required
info
including
the
issued
pass
code.
This
will
unlock
your
iLok
redemption
code.
Use
this
code
via
your
iLok
account's
"Redeem
License
Code".
Enter
the
iLok
code,
and
then
download
the
license
on
your
iLok
2
dongle.
User
Manual
The
Virtual
Tape
Machines
User
Manual
will
be
installed
in
the
following
location:
Windows
7:
C:\ProgramData\Slate Digital\Virtual Tape Machines OS
X:
/Applications/Slate Digital/Virtual Tape Machines
You
can
also
access
the
User
Manual
by
clicking
the
text
Virtual
Tape
Machines
from
the
Info
Panel
(Accessed
by
clicking
the
Slate
Digital
Logo).
20
21
X. C ONCLUSION
MAKING
THE
VIRTUAL
TAPE
MACHINES
By
Fabrice
Gabriel
After
the
success
of
the
Virtual
Console
Collection,
Steven
and
I
were
convinced
that
the
sound
of
tape
was
still
not
authentically
modeled
in
the
digital
domain.
In
fact,
it
didnt
seem
that
anyone
had
accurately
captured
the
essence
and
feeling
of
a
real
tape
machine.
We
wanted
to
change
that.
I
was
convinced
that
I
could
design
an
algorithm
that
would
be
so
close
to
the
tape
sound,
that
you
could
not
distinguish
a
track
recorded
to
the
real
tape
machine
versus
the
same
track
processed
with
the
algorithm.
The
most
important
thing
for
us
is
to
have
the
most
absolute
authentic
sound.
At
Slate
Digital,
our
mission
is
for
people
to
not
be
able
to
differentiate
from
the
real
thing,
so
it's
really
important
to
reproduce
faithfully
and
accurately
the
exact
sound
and
behavior
of
a
real
tape
machine,
and
here
are
the
reasons.
First,
our
purpose
is
to
make
sound
replicas,
not
average
sound
imitations.
For
years,
there
have
been
a
lot
of
companies
who
advertise
that
they
"precisely
model"
certain
pieces
of
analog
hardware,
and
still
today,
there
are
a
lot
of
products
which
"imitates"
the
analog
sound,
rather
than
accurately
replicating
it.
For
me,
it's
really
easy
to
see
in
their
algorithm
what
they
did
and
how
they
did
it,
what
they
missed
and
where
technical
issues
are.
Some
people
who
are
not
familiar
with
the
original
hardware
may
not
be
able
to
tell
the
difference.
But
any
professional
who
has
used
the
real
hardware
certainly
can.
In
order
to
be
authentic,
an
algorithm
must
be
faithful
to
every
aspect
of
the
original
gear
it
is
intended
to
replicate.
It
means
that
both
the
original
and
the
model
should
produce
the
same
output
waveform
with
the
same
input
waveform,
with
any
kind
of
waveform.
It
also
means
that
the
frequency
response
should
be
the
same
in
every
situation,
every
amplitude.
But
there
are
a
lot
of
other
aspects,
which
need
to
be
reproduced,
like
the
dynamics,
the
harmonic
behavior,
the
saturation
characteristics,
and
so
on.
Most
importantly,
the
scientific
tests
are
nothing
without
real
life
listening
tests.
Thats
why
Steven
and
I
compare
and
test
the
algorithms
against
the
real
thing,
and
then
several
experienced
mixing
and
mastering
engineers
validate
them.
We
stop
refining
the
algorithms
when
we
cant
tell
the
difference
between
the
original
and
the
algorithm
in
a
blind
listening
test.
22
We
chose
to
offer
a
tape
replication
because
it
was
clear
that
tape
had
not
properly
been
represented
in
the
digital
domain
yet.
I
guarantee
that
I
took
care
of
being
very
faithful
to
every
aspect
of
the
original
tape
sound
and
behavior,
that
is
our
mission
at
Slate
Digital,
and
this
is
the
reason
why
we
say
Advanced
Algorithms.
Steven
and
I
are
so
involved
in
making
the
best
replications
on
the
market,
we
hope
that
people
enjoy
our
products,
appreciate
their
authenticity,
and
overall,
make
great
music!
Thanks
for
reading!
- Fabrice
Gabriel
Studer
is
a
registered
trademark
of
Harmon,
and
is
not
affiliated
with
Slate
Digital.
Machine
names
used
in
this
manual
are
meant
solely
to
explain
which
tape
decks
were
used
in
the
Slate
Digital
Modeling
process.
i